كليدواژه :
ساساني , طاق‌بستان , پارچه , طرح , نقش
چكيده فارسي :
سنگ‌نگاره‌هاي ساساني نمودار بخش وسيعي از فرهنگ، روش سياسي و مذهبي ساسانيان است كه هريك براي بيان يك مفهوم و واقعه‌اي صادق خلق شده است. نظر به اهميت بافندگي دوره ساساني در قرون ميانه و تأثيري كه بر هنر نساجي قديم داشته، تاكنون نوشته‌هاي فراواني درباره بافندگي دوره ساساني به نگارش در‌آمده است. اين پژوهشگران در بررسي بافته‌هاي موجود علاوه براستناد به متون تاريخي و ديگر آثار دوره ساساني به نقوش طاق‌بستان اهميت داده و در استدلال‌هاي خود از آن مدد مي‌گيرند. براي رهگيري طرح و نقش پارچه‌هاي آن روزگار، مقاله حاضر به‌دنبال اين پرسش است: «چگونه مي‌توان با مطالعه نقش سنگ‌نگاره‌هاي طاق‌بستان، نسبت به شناسايي طرح و نقش پارچه‌هاي ساساني براساس اصول هنرهاي سنتي ايران در آن دوره اقدام كرد؟» هدف مقاله آن است كه به شيوه تحليلي- تاريخي و با بررسي هفت مورد از نقش برجسته‌هاي طاق‌بستان، طرح و نقش پارچه‌هاي متداول دوره ساساني را براساس اصول هنرهاي سنتي ايران شناسايي كند. نتيجه مطالعه نشان مي‌دهد افزون برپارچه‌هاي بدون طرح و نقش، گونه‌هاي ديگر براساس روش اجراي طرح اصلي به‌صورت قرينه انتقالي(واگيره‌اي، انواع قابي)، نامتقارن و مستقل(روايي) تقسيم مي‌شود كه معمولاً با نقوش گياهي، جانوري، هندسي، انساني، جمادي و تلفيقي آرايه‌بندي مي‌شد.
چكيده لاتين :
During the Sasanian era, the knitting craft and also the art
of textile design had become very rich and well developed,
but the textiles are not survived and are only discoverable
by reliefs that are considered as profound artworks of that
time. Sasanian reliefs are the valuable legacies which play
an important role in validating the collected documents by
archaeological and historical studies. Presenting a wide
range of art, culture, political and religious aspects of the
Sasanian empire, all of these reliefs spotlight the emperor
and each one is engraved to represent a concept or a true
event. They focus on the emperor and royal court members,
therefore, we don’t know about the clothing of the
major population of the society, nevertheless, it is a certain
way to discover the Sasanian patterns and designs. About
thirty four petroglyphs have been identified in Iran, among
which Taq-e Bostan, having been built in the Sasanian
period on the once- essential and high-traffic Silk Road
and containing some of the largest Sasanian petroglyphs,
is highly important. The petroglyphs provide a vast landscape
of Sasanian era subjects and motifs, enabling us to
clearly see what motifs were common at the time. Many of
the motifs in these petroglyphs are depicted on gold pieces
and metal plates remained from the Sassanid era. Many
studies have been conducted on knitting in the Sasanian
period, because of the importance of knitting for Sasanians
of middle ages and its effect on the textile art of the three
ancient continents. They have used historical texts and
other artworks of the Sasanian period, and especially studied
the clothing depicted in Taq-e Bostan. To discover the
textile design in the Sasanian era, this study tries to answer
the question: “How do the Sasanian textile patterns
and designs could be discovered by the study of Taq-e
Bostan’s reliefs based on principals of the traditional Persian
arts?” This study adopts a historical analysis method
and tries to study seven reliefs from the Taq-e Bostan, and
rediscover the pattern and design of the usual textiles from
the Sasanian period based on principals of the traditional
Persian arts. The results indicate that these reliefs represent
about twenty five textile designs and sixty five evident
patterns, which show the richness of these resources.
Also, being similar to some silk fabrics survived from the
European churches, the patterns of Sasanian clothing and
the sophisticated representation of clothing details in Taqe
Bostan’s reliefs show the importance of these reliefs for
a rediscovery of the knitting craft and textile design. The
results show that in addition to textiles without design and
pattern, other types are divided based on the implementation
of main design, including: translational symmetry
(vagirei (repeating), frame types), asymmetrical and isolated
(narrative) The frame-based textiles found in Taq-e
Bostan include qab-qabi (repeating frames), and kheshti
(brick-shaped), and their type is not clearly recognizable.
This concise category is based on the legacy of traditional
design which is illuminated by plant, animal, geometric,
human, still life, and composite patterns.
